LITERARY CRITICISM AND THEORY IN THE AFRICAN NOVEL: . CIDNUAACBEBE AND ALI MAZRUI by AyoMamudu 'It simply dawned on me two mommgs ago that a novelist must listen to his characters who after all are created to wear the shoe and point the writer where it pinches' - lkem in achebe's Antbllls of the Savannah The successful creative writer is also in an obvious and fundamental sense a critic; he possesses the critical awareness and carries out the self-criticism without which a work of art of respectable quality cannot be produced. Indeed, T.S. Eliot, as is well-known. was led to opine that "it is to be expected that the critic and the creative artist should frequently be the same person" .1 In contemporacy Africa, the view is widely held that the creative sensibility is other than and superior to the critical; and, in the tradition of the wide-spread and age-long "dispute" between writers and critics. that the critic is a junior partner (to the writer), even a parasite.2 Yet the evidence is abundant that some of Africa's leading writers have also produced considerable and compelling criticism: Achebe, Ngugi and Soyinka, to name a few. Their independent criticalworks aside, African writers have continued in their creative works to give information and shed light on critical and literary theory. The special attraction ofthis practice ofembedding, hinting at or discussing critical and literary ideas or views in creative writing is that the cut and thrust of contemporacy critical debates. the shifting sands of critical taste and fashion, and the interweaving of personal.opinion and public demands are gathered up and sifted through the imaginative process and the requirements ofthe particular literacy genre; its greatest danger is to be expected from a disregard for the imperatives of form. The practice. done with due regard to Jmunal ofHumanities, No. 7 1993 ISSN 1016--Ul28 37 AyoMamudu form, has the additional attractiveness of objectivity as out of the discussion and debate, interiorized and ex:teriorized, can emerge an image which will not be a still life and which will not be a straight­ forward self-portrait. Prose fiction, with its basic features of action (which subsists normally on conflict}, dialogue and authorial comment, has done handsomely in promoting the literary and critical debates, at different levels - within the writer, between the writer and his characters, among the characters, and between the writer and his reader.3 Notable among novelists who have explored at some depth and length aspects of the nature and roles of artists are Wole Soyinka in The Interpreters (1965) and Season of Anomy (1973). Ayi Kwei Armah in The Beautyful Ones Are Not Yet Born (1968), Fragments (1970), Why Are We So Blest? (1972) and Two Thousand Seasons (1973), and Ben Okriin The Landscapes Within (1981). These novels collectively and severally draw attention to the artist's sensitive receptivity which invariably builds up in the artist-characters (given their unavailing circumstances) into a burden of social responsibility -·even though, with the exception of Season of Anomy and Two Thousand Seasons, the artist-characters are too driven into themselves to be capable of taking appropriate action. The novels, especially Armah's, also dwell on the priestly and spiritual aspects of the artist's character; they all imply a close inter-relatedness between the various media of artistic expression (painting, music, writing. film and sculpture), and The Landscapes Within; Fragments and The Interpreters pursue with some emphasis the subject of the artist's efforts in cultivating his intellectual and imaginative powers, and his search for the efficient tools and means for transmuting raw experience into satisfying art. Rather than discuss art in broad terms, two African novelists, Chinua Achebe and Ali Mazrui have chosen to focus particularly on the literary medium; the emphasis is signposted by the significant, sometimes dominant, roles assigned to literary figures as characters in the novels: Achebe's A Man of the People (1966) and Anthills of the Savannah (1988), and Mazrui's The Trial ofChristopher Okigbo (1971). Of course, the views and ideas expressed and debated about the writer's vision, the writer and his society, the writer's language etc., can hold more or less equal validity for other artists and art forms. The views and ideas represent, re-examine. reshape and 38 Utercuy Crltlcfsm and Thoery extend the debates which have attended the development of modern African Literature; no one interested in the study of the evolving theory of literature ove,: the times can ignore this type of evidence. This article highlights this body of evidence as contained in these three novels - and anatomiZes it. .., In giving eX'pre~sion to artistic and Critical views in their creative works, Aftican novelists are doing nothing new or unique. They may arguably have found immeQ.tate ~piration,tq thetradU:lon ofthe oral artist-a tradition whose death has certainly been exaggerated4 -: who iµ{erpolates into his performance information on his biological and . artistic geneology, and his views on artistic modes and standards of 1 excellence in performance.Jn other lands and at other times. in any case, ~liters have used their creative works as a vector for litenuy · and critical ideas which were either personal to them or of gen~ . interest. This practi~e (together with Greek mythology) is what. for· instance. comes readily: to the aid of the ·scholar of literary criticism interested in the ancient Greeks before Plato and Aristotle (the one·· primarily a socio-political philosopher, the other a physical. and biological scientist before all else) and their critical inheritors began to study, analyse and evaluate extant and contemporary works of literature. A few examples will suffice to illustrate the point. Among the masters of crafts Homer groups the prophet, the healer•. the ship­ builder and the "god-like minstrel who gives us dellgb.twith his song" (Odyssey, bk 17, 11. 383-85) 5~ Hesiod's Muses take man into confidence in declaring: · ,· •·· - We know enough to make up lies which are convincing, but we also have the skill, when we've the mind, to speak the truth. (Theogony, 1 f.27-29)6 In his Suppliants, Euripides tells the audienee: The poet's selfin gladness should bring forth His offspring, song: if he attain not this, He cannot from a heart distra'l,J._ght with pain Gladden his fellows. (11.180-83)7. The Frogs by Aristophanes is a play written virtually on the subject of literary Criticism, with the playwrights Aeschylus and Euripides (already dead at the time) engaged in an aesthetic competition. The real didactic intentions of the following dialogue are quite obvious: AyoMamudu Euripides: And did I invent the story of Phaedra? Aeschylus: No, no, such things do happen. But the poet should keep quiet about them, not put them on the stage for everyone to copy. Schoolboys have a master to teach them, grown-ups have the poets. We have a duty to see that what we teach them is right and proper. (11.1052 ff.)8 Ali Mazrui's The Trial of Christopher Oklgbo9 is a novel whose plot, like that ofAeschylus' play The Frogs, involves an encounter with a writer in after-life; and close to the heart of the literary views expressed in it is the concept of the universality of aesthetics. Curiously, the African novel, like the Greek play, attempts to make a discussion of literature its primary subject. Perhaps the main achievement ofthe novel is that it fairly summarizes the leading issue which underlay critical debates and discussions of Modem African Literature in the 1960s, some of which issues are still alive, even if less vigorously. Its main weaknesses arise directly from its very ambitions as a novel of ideas (to the extent that this precipitates insufficient attention to the nature of,the relationship between the world of day-to-day facts and that of fiction) and from the author's inability to dismount his socio-political hobby-horse. A political scientist first c:..nd foremost, Mazrui sets out in the novel to examine the critical issues which were thrown up by the unprecedented literary creativity within two decades of political independence in Africa; in the event, the work is far more interested in, and obviously more at ease with, socio-political matters than literary. The drama of the novel is resolved in political not literary terms: Okigbo's tragedy is in the judgement of the Elders ofAfter-Africa inseparable from the continent's travails, and the travails are traced to what the author calls the curse of the Trinity in Africa's destiny, and in the quoted words of Nkrumah's Consclenclsm "to the tripartite cultural personality which had affiicted Africa" (p 137). The sociological and political issues are predictable enough and are tackled in Mazrui's characteristic manner; an analytical probing which is sweetened with a search for patterns such as symmetry, ambiguity and the reconciliation of apparent contradictions.10 Dominant among these issues so pursued may be noted Pan­ Africanism, the principle of a trinity seemingly presiding over the 40 Uterary Criticism and ThDery continent's fate, the modern African, like the character Hamisi, as some "odd mixture of Westernism, Orientalism, and residual Afrtcanness" (p. 21), African socialism which is rooted in the collectiveness of African experience (itself informed by a sense of solidarity and bonds of kinship), the rites of passage in the life of the African (in which context life is to be seen "not as interruption but a continuation, "p. 37); Africa as the origins of mankind, the necessary links between leadership, heroism and nationalism in Africa, the African concept of "Pure" victory· and "the monotheistic lead".